Piers Hellawell - Syzygy by Edition Peters

Contemporary

Hellawell Syzygy for brass quintet & chamber orchestra Full Score

EP 72418

PIERS HELLAWELL

Syzygy for brass quintet & chamber orchestra

Full Score

EIGENTUM DES VERLEGERS

路

PETERS EDITION LTD A member of the Edition Peters Group FRANKFURT/M. 路 LEIPZIG 路 LONDON 路 NEW YORK

SYZYGY for brass quintet and chamber orchestra Score is transposed Instrumentation 2 ﬂutes 2 oboes 2 clarinets in Bb 2 bassoons (2 d contra) 2 trumpets in C 2 horns in F 1 percussion* solo brass quintet (2 trumpets, 1 horn, 1 trombone, 1 tuba) strings, min 8-6-4-4-2 (Contrabasses need low extension to Eb) *Vibraphone, Marimba, Glockenspiel, Mbira or Kalimba, 2 strong Wine Glasses, Rototoms, Crotales (lower octave), Temple blocks, Tam-tam, harsh (‘Chinese’) Gong, Bongos, 3 Tom-toms, Bass Drum Duration c.18’

SYZYGY is a commission by the Swedish Chamber Orchestra for Stockholm Chamber Brass, ﬁrst performance in Örebro, Sweden by those artists and conductor Paul Watkins in February 2013.

This score reflects the state of editorial work and correction as at 9 April 2013

Special Techniques movement i *Orchestral forces are asked to sing, quietly; pitches are free but duration is specified. *From ‘G’, clarinet 1 plays solo into tuba bell while valves are oscillated; clarinet should sit near soli. *Solo trumpets use hand-stopped distortions (written with diamond heads) between ‘C’ and ‘D’. *Solo trumpets use tin-foil distortions (written with diamond heads) between ‘F’ and ‘G’. *Solo horn removes slide 3 for timbre distortion (written with diamond heads) between ‘B’ and ‘C’. movement ii *Orchestral horns sit either side of orchestral trumpets to enable ‘balophone’ effect until ‘D’. *Orchestral trumpets con sord. play into horn bells to enable ‘balophone’ effect until ‘D’. *Vci pluck ad lib. beyond the bridge during bars specified by brackets, until ‘D’ and from ‘U’. *Wind instruments use alternative fingerings to distort intonation, between ‘A’ and ‘D’. *Contrabasses knock resonant wooden body of instrument from ‘U’. movement iii *Solo trumpets begin at stage left and right, facing inward to stage. Orchestral trumpets are similarly positioned but at the back of the stage (left and right corners), if possible hidden from view. All return to seats at ‘B’. *Strings bounce pencil across strings (I-II-III-IV-III-II-I motion) as marked. Strings are firmly stopped down with left hand flat on fingerboard. Upper strings also play arco gliss. that oscillates upward. *Violins 1 and 2 play short, sforzando sounds (as high as possible) beyond bridge on E string from ‘K’ onward, as well as ‘left-hand pizzicato’ open E. *Violin 1 plays E beyond the bridge pizzicato with a fingernail, after ‘T’. *Horn removes slide for timbre change after ‘U’. *Orchestral trumpets return to rear corners of stage after ‘T’, if possible hidden from view. From letter U trumpet 2 plucks violin E string, in alternation with trumpet 1 E (+plunger mute). Seating Changes Movement i: Clarinet 1 is seated behind tuba, moving into position for balophone effect from ‘G’. Movement ii: Horns 1 & 2 begin seated either side of trumpets 1 & 2 for balophone effect. Movement iii: Solo trumpets 1 & 2 begin at opposite wings of stage; orchestral trumpets 1 & 2 begin at rear sides of stage. All four return to normal places at ‘B’. Orchestral trumpets return to stage rear corners after ‘T’.

Programme Note Syzygy is a set of three highly contrasted pieces for brass quintet and chamber or small orchestra. The project arose from my 2006 collaboration on Sound Carvings from the Bell Foundry with Stockholm Chamber Brass, which led to a request from them for a work combining the quintet with orchestra that could be performed in Sweden and the UK. The work is part of a series of concertante pieces in which I have, for many years, sought to recalibrate the relationship between solo and massed forces; previous works have sought ways to pursue an interactive, reﬂective mode of discourse. This has in turn evolved my orchestral thinking toward an emphasis on chamber groupings, whose fresh acoustic mixtures have gained prominence over massed orchestral tutti. For this reason Syzygy draws upon the greater individual identities and chamber possibilities of the chamber orchestra: indeed one can chart a progression, in the work’s three pieces, from the treatment of the orchestra as a solid mass (in I) to its role more as a collection of individual soli (in III). The title refers to an alignment of three or so heavenly bodies in which the middle planet obscures the others’ views of one another. Here, the bodies are the pieces: the second piece, being the largest, separates two very different pieces on either side. Piece I is a stately meditation; Piece II moves from a whispered beginning to an inexorable gathering of power and climax; Piece III is energetic throughout. As in a planetary syzygy, pieces I and III remain disconnected, not only in expressive mood but in treatment of the solo brass quintet – which, like the orchestra, evolves during the work, being in piece I a separate entity, isolated from and ignorant of the orchestra (save for a solitary clarinet) – while in piece III the ﬁve brass soloists have become more concerned with orchestral ensembles than with one another. The central piece mediates between these, the quintet (still a unit) interacting with the orchestra in a manner closer to the traditional concerto. In all three pieces a wide variety of extended sounds is sought from almost every instrumental department; every musician on stage is a soloist. PH © 2012

SYZYGY Piers Hellawell

Players (except solo quintet) to take a full breath then, on cue, sing a convenient note for your voice, pianissimo, to ‘Lo - ’ holding it for an entire breath on that note. When the breath is expended, breathe and ‘fade in’ again. When conductor indicates a change of chord, chose any other note. Hold instrument, as if ready to play, up to letter D. Measured Flute 1

4 2

Flute 2

4 2

Oboe 1

4 2

Oboe 2

4 2

h = 50

stringendo

poco

---

‘A’

poco

---

‘A’

Clarinet 1 in Bb

4 2

Clarinet 2 in Bb

4 2

Bassoon 1

4 2

Bassoon 2

4 2

Horn in F 1

4 2

Horn in F 2

4 2

Trumpet in C 1

4 2

Trumpet in C 2

4 2

Percussion (Vibraphone)

4 2

Solo Trumpet 1 in C

4 2

Solo Trumpet 2 in C

4 2

pp sit with brass ensemble, beside tuba, ready to play in b.29

Measured

stringendo

h = 50

cresc.

cresc. Solo Horn in F

4 2

Solo Trombone

p Solo Tuba

4 2

pp Violin II

4 2 pp

Viola

4 2 pp

Violoncello

4 2 pp

Contrabass

cresc.

4 2

cresc.

4 2

cresc.

A 2

A tempo

Fl. 1 (pp)

Fl. 2 (pp)

Ob. 1 (pp)

Ob. 2 (pp)

Cl. 1 (pp)

Cl. 2 (pp)

Bsn. 1 (pp)

Bsn. 2 (pp)

Hn. 1 (pp)

Hn. 2 (pp)

C Tpt. 1 (pp)

C Tpt. 2 (pp)

Vib.

A A tempo Solo Tpt. 1

Solo Tpt. 2 5

diamond notes from b.8 denote pitches played on Bb horn with slide removed, to distort timbre (rubato ad lib.)

Remove tube 3 Solo Hn.

(rubato ad lib.) 3

Solo Tbn. f

(rubato ad lib.)

Solo Tba. mf

f f

Vln. I (pp)

Vln. II (pp)

Vla. (pp)

Vc. (pp)

Cb. (pp)

3 8

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Cl. 1

Cl. 2

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

C Tpt. 1

C Tpt. 2

Vib.

B Solo Tpt. 1

Solo Tpt. 2

Solo Hn. 3

p echo

gliss.

Solo Tbn. f

Solo Tba.

Vln. I

Vln. II

Vla.

Vc.

Cb.

pi첫 f

(Orchestral instrument can be lowered)

Fl. 1 poco mf

Fl. 2 poco mf

Ob. 1 poco mf

Ob. 2 poco mf

Cl. 1 poco mf

Cl. 2 poco mf

Bsn. 1 poco mf

Bsn. 2 poco mf

Hn. 1 poco mf

Hn. 2 poco mf

C Tpt. 1 poco mf

C Tpt. 2 poco mf

Vib. poco mf

C diamond notes from b.12 denote pitches distorted by hand-stopping

Solo Tpt. 1 mf espress. diamond notes from b.12 denote pitches distorted by hand-stopping

echo

Solo Tpt. 2 echo mf espress. Solo Hn. 3

gliss.

Solo Tbn. mf

Solo Tba.

(Orchestral instrument can be lowered)

Vln. I poco mf

Vln. II poco mf

Vla. poco mf

Vc. poco mf

Cb. poco mf

5 14

Fl. 1 cresc.subito

Fl. 2 cresc.subito

Ob. 1 cresc.subito

Ob. 2 cresc.subito

Cl. 1 cresc.subito

Cl. 2 cresc.subito

Bsn. 1 cresc.subito

Bsn. 2 cresc.subito

Hn. 1 cresc.subito

Hn. 2 cresc.subito

C Tpt. 1 cresc.subito

C Tpt. 2 cresc.subito

Vib.

Solo Tpt. 1 echo

echo 5

Solo Tpt. 2 echo

echo

Solo Hn.

Solo Tbn.

Solo Tba.

Vln. I cresc.subito

Vln. II cresc.subito

Vla. cresc.subito

Vc. cresc.subito

Cb. cresc.subito

Fl. 1 mf

Fl. 2 mf

Ob. 1 mf

Ob. 2 mf

Cl. 1 mf

Cl. 2 mf

Bsn. 1 mf

Bsn. 2 mf

Hn. 1 mf

Hn. 2 mf

C Tpt. 1 mf

C Tpt. 2 mf

(sing, ad lib.) Vib. mf

D (nat.)

gliss.

Solo Tpt. 1

cresc.

meno f

f (nat.)

Solo Tpt. 2 meno f

(nat.)

cresc.

Solo Hn. meno f

cresc.

Solo Tbn. f

meno f

cresc.

3 3

Solo Tba.

meno f

cresc.

Vln. I mf

Vln. II mf

Vla. mf

Vc. mf

Cb. mf

7 20

Fl. 1 f

Fl. 2 f

Ob. 1 f

Ob. 2 f

Cl. 1 f

Cl. 2 f

Bsn. 1 f

Bsn. 2 f

Hn. 1 f

Hn. 2 f

C Tpt. 1 f

C Tpt. 2 f

(play) Vib. f

(hand stop with silver foil in bell)

Solo Tpt. 1 6

pi첫 f

ff (hand stop with silver foil in bell)

Solo Tpt. 2 p

pi첫 f

Solo Hn. 3

pi첫 f

gliss.

Solo Tbn. 5

cresc.

Solo Tba. p

cresc.

Vln. I f

Vln. II f

Vla. f

Vc. f

Cb. f

8 23

Fl. 1 pp

Fl. 2 pp

Ob. 1 pp

Ob. 2 pp

Cl. 1 pp

Cl. 2 pp

Bsn. 1 pp

Bsn. 2 pp

Hn. 1 pp

Hn. 2 pp

C Tpt. 1 pp

C Tpt. 2 pp

Vib. mp

Solo Tpt. 1 mp

Solo Tpt. 2 mp

Solo Hn. p

mp Solo Tbn. mp (prepare balophone with clarinet) Solo Tba.

Vln. I pp

Vln. II pp

Vla. pp

Vc. pp

Cb. pp

gliss.

Fl. 1 pp

Fl. 2 pp

Ob. 1 pp

Ob. 2 pp 3

Cl. 1

gliss.

balophone: play clarinet with bell deep inside bell of solo tuba

Dynamic level: loud enough to ensure prominence of solo instrument

Cl. 2 pp

Bsn. 1 pp

Bsn. 2 pp

Hn. 1 pp

Hn. 2 pp

C Tpt. 1 pp

C Tpt. 2 pp

Vib. mp sempre

G 5

(remove foil)

Solo Tpt. 1 3

pp (remove foil)

Solo Tpt. 2 p

Solo Hn. ff

Solo Tbn. ff balophone: from * activate valves rapidly while clarinet plays into bell of tuba

Solo Tba. ff

Vln. I pp

Vln. II pp

Vla. pp

Vc. pp

Cb. pp

Fl. 1 pp

Fl. 2

Ob. 1

Ob. 2

Cl. 1 piu mf Cl. 2 pp

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

C Tpt. 1

C Tpt. 2

Vib.

Solo Tpt. 1 mf

Solo Tpt. 2 mf

Solo Hn. mf

Solo Tbn. mp mf Solo Tba. mf

Vln. I pp

Vln. II

Vla.

Vc.

Cb.

Fl. 1 pp

Fl. 2

Ob. 1

Ob. 2 pp

gliss.

(sing)

Cl. 1 mp

Cl. 2 pp

Bsn. 1

Bsn. 2

Hn. 1

Hn. 2

C Tpt. 1

C Tpt. 2

Vib.

Solo Tpt. 1 f

Solo Tpt. 2

Solo Hn.

Solo Tbn.

Solo Tba.

Vln. I

Vln. II

Vla.

Vc.

Cb.

Lento q = 60

2 Flutes

5 4

3 4

5 4

3 4

2 Oboes

5 4

3 4

5 4

3 4

2 Clarinets in Bb

5 4

3 4

5 4

3 4

2 Bassoons

5 4

3 4

5 4

3 4

5 4

3 4

5 4

Horns are seated either side of trumpets. Tpts 1 and 2 direct trumpet bells into bells of horns; horns activate valves rapidly (without air) while trumpets play.

2 Horns in F

5 4

Trumpet 1 in C

5 4

con sord. (‘straight’), played into horn bell

p legato

Trumpet 2 in C

5 4

con sord. (‘straight’), played into horn bell

3 4

5 4

3 4

p legato

Percussion

play ad lib. within [ ]. Approximate texture is given

3 4

5 Mbira: 4

5 4

3 4

(mf)

Lento q = 60

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

Solo Horn in F

5 4

3 4

5 4

3 4

Solo Trombone

5 4

3 4

5 4

3 4

Solo Tuba

5 4

3 4

5 4

3 4

5 4

divisi

Violin I

3 4

5 4

3 4

5 4

divisi

Violin II

3 4

5 4

3 4

5 4

divisi

Viola

3 4

5 4

3 4

Vco. (unpitched)

5 4

Solo Trumpet 1

Solo Trumpet 2

Pizz. on open strings beyond bridge (

)

Example:

3 4

5 4

sim.

3 4

Each player plays ad lib. between [ ] (mp)

Contrabass

5 4

solo

(mf)

3 4 3

5 4 3

3 4

A 5

Fl.1

Animato q = 92

(alternative fingerings)

3 4

5 4 5

(alternative fingerings) Cl.1

5 6

3 4

3 4 5

5 6

5 4

3 4

5 4

3 4

5 6

5 4

Cl.2

3 4

5 4

3 4

5 4

3 4

2 Hns.

3 4

5 4

3 4

5 4

3 4

C Tpt.1

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 Take Wine Glasses 4

3 4

5 4

3 4

B 5 4

3 4

C Tpt.2

Perc.

solo Tpt.1

3 4 3 4

5 4 (Mbira)

A 3 4

gliss.

senza sord.

solo Tpt. 2

3 4

5 4

3 4

con sord. cup mute

solo Hn.

3 4

5 4

senza sord.

5 4

3 4

5 4

3 4 pp

3 4

con sord. cup mute

5 4

gliss.

solo Tba.

3 4

gliss.

solo Tbn.

gliss.

3 4

senza sord.

5 4

3 4

5 4

3 4

gliss.

3 4

Vln. Ia

3 4

5 4

3 4

5 4

Vln. Ib

3 4

5 4

3 4

5 4

Vln. IIa

Vln. IIb

3 4 3 4

5 4

(slow downward gliss. in dim.) unis.

glis

5 4

glis s.

p (slow downward gliss. in dim.) unis.

3 4

5 4

3 4

5 4

3 4

5 4

Vla.b

3 4

5 4

3 4

5 4

3 4 3 4 3 4

gli s s.

(slow downward gliss. in dim.) unis. glis s.

Vla.a

3 4

(slow downward gliss. in dim.) unis.

3 4

5 4

unis.

glis s.

3 4

(slow downward gliss. in dim.) unis.

glis

(slow downward gliss. in dim.)

Vla.

3 4

5 4

3 4

Vc. unpitched

3 4

5 4

3 4

Vc. a

3 4

5 4

3 4

5 4

Vc. b

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

tutti arco ord., div.

3 4

5 4

3 4

5 4

3 4 unis.

glis s.

(slow downward gliss. in dim.) unis.

glis s.

3 4 3 4

(slow downward gliss. in dim.) Cb.

3 4

14 9

2 Fl.

3 4

4 4

5 4

2 Ob.

3 4

4 4

5 4

2 Cl.

3 4

4 4

5 4

2 Bsn.

3 4

4 4

5 4

C Tpt.1

3 4

4 4

5 4

C Tpt.2

3 4

4 4

5 4

4 4

5 4

Perc.

3 4

to Mbira

Strike 2 Wine Glasses together: (mf)

solo Tpt.1

5:4

3 4 3

mf 5

solo Tpt. 2

3 4

5:4

3 4

3 4 mf

Vln. I

solo Tba.

4 4

5 4

solo Tbn.

4 4

solo Hn.

l.v.

3 4

4 4

5:4

4) 4

( gliss.

gliss.

(

5 4

2 soli:

5 4

) 2 soli:

Vln. II

3 4

gliss.

(

Vla.

Vc.

Cb.

3 4

)

4 4

5 4

( gliss.

)

4 4

2 soli:

5 4

( gliss.

)

4 4

2 soli e gli altri div.:

5 4

)

gliss.

(

)

unis. gliss.

( gliss.

(

)

( gliss.

gliss.

( )

)

4 4

5 4

15 13

Fl.1

C 5 4

Tempo primo (Lento) [soli accomp. al ‘D’] q = 60

3 p

Fl.2

5 4 (alternative fingerings)

5 4

Ob.2

5 4

Cl.1

5 4

cresc. 3

cresc. 5

Ob.1

mp (alternative fingerings) 3

cresc. 5

cresc. 3

(alternative fingerings)

cresc.

6 5

Cl.2

5 4

Bsn.1

5 4

Bsn.2

5 4

2 Hns.

5 4 5 4

(sim.)

C Tpt.1

5 4

(sim.)

C Tpt.2

cresc.

mf 5

pp Mbira: Perc.

5 4

(start on beat 1 and play through pause beat)

solo Tpt.1

C 5 4

solo Tpt. 2

5 4

solo Hn.

solo Tbn.

Tempo primo (Lento) [soli accomp. al ‘D’] q = 60 con sord. cup mute

con sord. cup mute p

con sord. cup mute

5 4

Vln.1 solo b

5 4

sim.

Vln. II solo b

5 4

gliss. 3

un po più f

cresc. un po

p mp

sim.

gliss. 5

un po più f

cresc. un po 5

flautando

con sord.

5 4

Vln.II solo a

gliss.

Between bars 13 and 17 accidentals are confirmed when repeated even within a measure, to clarify flautando con sord. Vln.1 solo a

sim.

gliss.

p solo Tba.

gliss.

5 4 5 4

gliss.

cresc.

flautando

cresc.

con sord.

pp con sord. flautando

cresc. 5

Vla. solo a

5 4

Vla. solo b

5 4

con sord.

cresc.3

cresc.

flautando con sord.

cresc.

pp flautando

cresc.

pizz. ord. con gli altri, div.

2 Soli: Vc. unpitched

5 4

pizz.

Vc. a

5 4

pizz.

Vc. b

5 4 5 4

pizz.

pizz.beyond bridge, come prima; (start on beat 1 and play through pause beat)

f Cb.

1 solo arco

Animato q = 92

D 16

3 4

Fl.1 6

3 4

Fl.2 5

3 4

Ob.1 3

Ob.2 5

3 4

Cl.1 3

3 4

Cl.2 5

Bsn.1

3 4

Bsn.2

3 4 (horns move to usual seats)

3 4

2 Hns. (end of balophone effect)

3 4

(end of balophone effect)

3 4

C Tpt.1 3 3

C Tpt.2

Mbira:

3 4

to Marimba

Perc.

D gliss.

Animato q = 92

senza sord.

gliss.

solo Tpt.1 3

un po pi첫 f

senza sord.

gliss.

3 3

gliss.

3 4

gliss.

3 4

3 3

gliss.

solo Tpt. 2 3

3 4

solo Hn. dim.

senza sord.

gliss.

solo Tbn.

gliss.

solo Tba.

dim.

senza sord. 3

senza sord.

3 4

Vln.II solo a 5

senza sord.

3 4

senza sord.

3 4

senza sord.

3 4

Vln. II solo b 5

Vla. solo a 3

Vla. solo b 3

3 4

Vln.1 solo b 3

3 4

Vln.1 solo a 3

3 4

2 Soli, ad lib.)

unis. con gli altri

Vc. pizz.beyond bridge, come prima tutti div

3 4

Vc. a

3 4

Vc. b

3 4 tutti, pizz.

Cb. 3

3 4

Fl.1

Marimba

E 4 4

3 4

Marimba:

3 4

5:4

solo Tpt.1

3 4

solo Tpt. 2

3 4

cresc.

3 4

4 4 3

cresc.

gliss.

3 3

4 4 3

3 4

4 4

gliss. 3

3 4

f 3

Vln. Ia

E 4 4

4 4

3 3

solo Tba.

3 4

cresc.

solo Tbn.

3 cresc.

3 4

to Marimba

(f)

5:4

solo Hn.

4 4

2 Wine Glasses, struck together:

take Glasses

5:4

3 4

tutti div. gliss.

gliss.

(

)

(

)

gliss. (

)

gliss. (

)

(

)

(

)

3 4

Vln. Ib

3 4

4 4

tutti div. gliss.

gliss.

3 4

Vln. IIa

3 4

4 4

tutti div. (

)

3 4

gliss.

(

)

3 4

gliss.

(

)

(

)

(

)

(

)

(

)

gliss.

Vln. IIb

3 4

4 4

tutti div.

Vla.a

3 4

4 4

tutti div.

gliss. (

)

(

)

(

)

(

)

3 4

Vla.b

3 4

4 4

tutti div. gliss.

gliss.

3 4

Vc. a

3 4

(pizz.)

Vc. b

3 4

5:4

cresc.

5:4

cresc.

gliss.

3 4

5:4 5:4

div.

4 arco 4

(pizz.)

Cb.

5:4

div.

4 arco 4

gliss.

3 4

5:4

4 4 cresc.

arco

gliss.

3 4

18 26

Fl.1

3 4

Ob.1

Cl.1

3 4

Perc.

3 4

solo Tpt.1

3 4

solo Tba.

3 4

mf 5

5 5

3 4 mf

Vln. Ia

3 4

Vln. Ib

3 4

Vln. IIa

3 4

Vln. IIb

3 4

Vla.a

3 4

Vla.b

3 4

unis.

Vc. a

3 4

unis.

Vc. b

Vc.

3 4

Cb.

solo Tbn.

solo Hn.

Marimba:

solo Tpt. 2

solo

3 4

F Un poco rilevato 32

q = 84

Fl.1

3 4

Ob.1

3 4

Cl.1

3 4

Mar.

poco rilevato F Un q = 84

con sord.

3 4

solo Tpt.1 5

mp accomp.

con sord.

solo Tpt. 2

3 4

mp accomp.

3 4

solo Hn. mp accomp.

con sord. solo Tbn. 5

mp accomp.

3 4

solo Tba. mp accomp.

3 4

Vln. Ia mf

3 4

Vln. Ib mf

3 4

Vln. IIa 5

3 4

Vln. IIb mf

sim. Vla.a 3

poco mp

sim.

cresc.

3 4

Vla.b 3

poco mp

sim.

cresc.

Vc. 3

poco mp

cresc.

poco mp

cresc.

Cb. 3

3 4

20 37

Fl.1

3 4

Fl.2

3 4

Ob.2

3 4 f

Ob.1

3 4

5 5

Cl.1

3 4

Cl.2

5 5 5

3 4 f

Bsn.1

5 3

3 4

mf leggiero

Bsn.2

3 4 3

Mar.

(marimba)

3 4

mf leggiero

G solo Tpt.1

3 4

meno p e cresc.

solo Tpt. 2

3 4 5

meno p e cresc. solo Hn.

3 4

meno p e cresc.

solo Tbn.

3 4

meno p e cresc. solo Tba.

3 4 meno p

Vln. Ia

Vln. Ib

Vln. IIa

Vln. IIb

3 4 3 4 3 4

f 5

3 4

Vla.a

Cb.

3 4 3 4

sim.

3 4 3

Vc.

sim.

3 4 3

Vla.b

3 3

sim. 3

arco

mf marcato

Fl.1 5

5 5

cresc. 5

Fl.2 5

cresc.

Ob.1

5 5

cresc. 5

Ob.2

cresc.

Cl.1 5

5 5

cresc. 5

Cl.2 3

cresc.

5 3

Bsn.1 cresc. 3

Bsn.2 3

cresc.

Hn.1 mp

Hn.2

C Tpt.1

C Tpt.2

Mar. 5

cresc. 5

mf leggiero

H senza sord. solo Tpt.1 5

mf cresc.

senza sord.

solo Tpt. 2 mf cresc. solo Hn. mf cresc.

senza sord. solo Tbn.

mf cresc. 3

solo Tba. mf cresc.

Vln. Ia 5

Vln. Ib

Vln. IIa f

Vln. IIb f

5 5

Vla.a 5

Vla.b f

Vc. 3

mf 3

Cb. f

poco allargando

22 46

7 8

Fl.1 5

7 8

Fl.2 5

7 8

5 8

3 4 ff 5

3 4 3

7 8

Cl.1

3 4 3 4

5 8 3

ff 3

3 5

5 8

Ob.2 5

7 8

3 4

ff 5

5 8

Ob.1 5

5 8

7 8

Cl.2

3 3

7 8

Bsn.1

Bsn.2

7 8

5 8

3 4 ff

5 8 5 8

3 4

7 8

Hn.1 3 3

Hn.2

7 8

5 8

3 4 f

3 4

senza sord. 3

C Tpt.1 mp senza sord. 3

5 8 3

C Tpt.2 mp

7 8

cresc.

7 8

3 4

5 8

3 4 3

cresc. 5

7 8

Mar. 5

poco allargando

7 8

Vln. Ia 5

5 8 ff

5 8

7 8

5 8

5 3

7 8

Vc. a

glis

3 4

ff 5

7 8

Vla.b

3 4 3

5 8 5

Vla.a

3 4

ff 5

7 8

Vln. IIb

3 4

5 8 5

7 8

Vln. IIa 5

7 8

Vln. Ib

to Rototom

5 8

glis

ff 5

5 8

3 4 3 4

5 8

3 4 f

7 8

Vc. b

3 4 f

div.

7 8

Vc.

Cb.

pizz.

7 8

5 8 arco

5 8

3 4 3 4

I 51

Fl.1

Fl.2

Ob.1

Ob.2

Cl.1

Cl.2

3 4

A tempo (q = 84) 3

f 3

3 4

3 4 3 4

mf 3

mf 5:4

3 4

f 3

mf 5:4

Bsn.1

3 4

Bsn.2

3 4

3 3

Hn.1

3 4

Hn.2

3 4

C Tpt.1

C Tpt.2

Mar.

3 4 3 4

Vln. Ib

Vln. IIb

Vla.a

Vla.b

mf 5:4

mf Rototom:

3 4

A tempo (q = 84) gliss. 5

gliss .

3 4

Vln. IIa

3 4 I

Vln. Ia

5:4 3

gli ss.

3 4

glis

3 4

glis s.

3 4

gliss

3 4

5:4

5:4 3

Vc. a

3 4

Vc. b

3 4

Cb.

3 8

J 7 8

3 8

5 8

3 4

3 8

7 8

3 8

5 8

3 4

7 8

3 8

5 8

3 4

7 8

3 8

5 8

3 4

3 8

7 8

3 8

5 8

3 4

Cl.2

3 8

7 8

3 8

5 8

3 4

Bsn.1

3 8

7 8

3 8

5 8

3 4

3 8

7 8

3 8

5 8

3 4

3 8

7 8

3 8

5 8

3 4

3 8

5 8

3 4

3 8

5 8

3 4

3 8

5 8

3 4

3 to harsh ('Chinese') gong 8

5 8

3 4

3 8

5 8

3 4

Fl.1 3

mf Fl.2

3 3

Ob.1

3 8

mp 3

Ob.2

3 8

mp 3

Cl.1 3 3

dim. Bsn.2 dim. Hn.1

dim.

3 8

Hn.2

7 8 mp

dim. 3

3 8

C Tpt.1

7 8 mp

dim. 3

3 8

C Tpt.2

7 8 mp

dim. 3

to Tam-tam

3 8

Perc.

To T.-t.

Tam-tam

7 8

dim.

J 7 8

3 8

solo Tpt.1

3 8

solo Tpt. 2

7 8

3 8

7 8 f

3 8

solo Tbn.

3 8

5 8

solo Hn.

7 8

3 8

7 8

3 8 mf

Vln. Ia 3

mf Vln. Ib

mf Vln. IIa

mf Vln. IIb

mf 3

5 8

3 4 5

3 8

5 8

3 4

3 8

7 8

3 8

5 8

3 4

7 8

3 8

5 8

3 4

7 8

3 8

5 8

3 4

3 8

7 8

3 8

5 8

3 4

3 8

7 8

3 8

5 8

3 4

3 8

7 8

3 8

5 8

3 4

3 8

7 8

3 8

5 8

3 4

3 8

7 8

3 8

5 8

3 4

Vla.a dim. 3

Vla.b dim. Vc. a dim. Vc. b dim. Cb.

7 8

3 4

3 8

3 4

f solo Tba.

5 8 3

3 4 3

3 8

The solo brass duos dominate until ‘L’ Meno mosso q = 78

Fl.1

Fl.2

Ob.1

Ob.2

Cl.1

Cl.2

Bsn.1

Bsn.2

Hn.1 5

mp 3

mf 5

Hn.2 mp

mf 3

C Tpt.1 3

3 5

C Tpt.2

Perc.

Marimba:

harsh 'Chinese' gong (take metal beater)

to Marimba sf

The solo brass duos dominate until ‘L’ Meno mosso q = 78

(solo) solo Tpt.1 5

solo Tpt. 2 5

3 3

(solo)

solo Hn. 5

gliss.

solo Tbn. 5

gliss. mp

solo Tba. 3

gliss.

( )

Vln. Ia

unis. (

)

(

)

mf Vln. Ib

unis.

(

gliss.

)

unis.

Vln. IIa

gliss.

mf (

(

)

Vln. IIb

unis. gliss.

(

)

(

)

mf ( ) Vla.a

( )

unis. gliss.

unis.

Vla.b

( )

gliss.

(

)

mf (

Vc. a

)

mf Vc. b

( ) mf ( )

Cb. mf

3 mf with brass: T2, Tbn, Tba

26 71

Hn.1

Hn.2

C Tpt.1

C Tpt.2

Mar.

solo Tpt.1 3

(solo) 3

solo Tpt. 2 5

solo Hn. p

(solo)

solo Tbn. 3

solo Tba. 3

Vln. I mf

mf 6

Vln. II mf

mf 6

div.

Vla. mf

Cb. 3

with brass: T1, Hn, Tba

L 77

Fl.1 f

mf 5

Fl.2 p

Ob.1 5

Ob.2 mf

Cl.1 mf

Cl.2 mf

Bsn.1 mf

Bsn.2

Hn.1 3

Hn.2 mp

C Tpt.1

C Tpt.2

Mar. mf 3

solo Tpt.1 5

dim. 3

solo Tpt. 2 3

dim.

solo Hn. mp

dim.

solo Tbn. 5

dim.

solo Tba. 3

dim.

Vln. I 6

Vln. II 5

mf 3

Vla.a 6

3 3

Vla.b 6

Vc. a mf 5

5 3

Vc. b mp tutti

3 3

Cb. 3

28 83

4 4

Fl.1 5

5:4

mf marcato

4 4

Fl.2

4 4

Ob.1 mf

mf marcato

4 4

Ob.2

5:4

4 4

Cl.1 5

5:4

4 4

Cl.2

4 4

Bsn.1 3

3 3

Bsn.2 3

4 4

Hn.1

Hn.2

C Tpt.1

4 4

C Tpt.2

4 4

mp 5 3

4 4

Mar.

4 4

solo Tpt.1 3

4 4

solo Tpt. 2 3

4 4

solo Hn. 3

4 4

solo Tbn. 3

4 4

solo Tba. 3

4 4

Vln. I 5

5:4

5 3

mf marcato

Vla.a 3

sim.

3 3

4 4

Vc. a 5

5:4

5:4 3

Vc. b 3

sim. 3

3 3

Cb. 3

sim.

4 4 4 4

Vla.b sim.

4 4

Vln. II

mf marcato

4 4 4 4

pizz.

2 4

Fl.1

5 8

2 4

Fl.2 5 5

Ob.1

5 8

2 4

5 8

2 4

5 8

2 4

5 8

5 5

Ob.2

Cl.1 5

2 4

Cl.2

Vivo e = 195 < e5 = e >

3 3

5 8

2 4

Bsn.1

5 8 f

2 4

Bsn.2

2 4

Hn.1 mp

Hn.2

5 8

2 4 5

C Tpt.1 5

5 8

2 4 3

5 8

2 4

C Tpt.2

to Bongos

2 4

Mar. 5

5 8

cresc.

5 8

solo Tpt.1

2 4

M 5 8

solo Tpt. 2

2 4

5 8

solo Hn.

2 4

5 8

2 4

5 8

Vivo e = 195 < e5 = e >

solo Tbn. 5

f 3

2 4

solo Tba. 5

5 8 div.

2 4

Vln. Ia 5

div.

2 4 5

2 4

Vln. IIa

2 4

Vln. IIb

div.

5 8

5 3

2 4

5 8

2 4

5 8

2 4

Vla.b mf

2 4

5 8

2 4

5 8

3 3

Vc. b 3

3 3

mf 3

Vc. a

Cb.

5 8

Vla.a

div. 5

5 8

Vln. Ib 5

arco

3 3

f 3

5 8 f

3 5

N 3 4

Fl.1 ff

3 4

Fl.2

3 4

Ob.1 ff

3 4

Ob.2

3 4

Cl.1 ff

3 4

Cl.2

3 4

Bsn.1

Bsn.2

3 4

Hn.1

3 4

Hn.2

C Tpt.1

3 4

C Tpt.2

3 4

3 3

mp Bongos: Perc.

3 4 mf

N 3 4

solo Tpt.1 ff 5

solo Tpt. 2 1/2 valve

sfp

f 3

3 4

solo Hn. 5

solo Tbn.

sfp

3 4

gliss.

solo Tba.

5 3

3 4

Vln. Ia f

Vln. Ib 3

Vln. IIa 3

Vla.a 3

3 3

3 4

Vc. a 3

3 3

3 4

Vc. b 3

Cb.

3 4 3 4

Vla.b

3 4 3 4

Vln. IIb 3

3 4

31 103

Fl.1 3

Fl.2

mf Ob.1 f

5:4

Ob.2 mf 5:4

Cl.1 mf

Cl.2 3

Bsn.1 mf

5:4 5:4

Bsn.2 3

Hn.1 3

5:4

Hn.2 mf

C Tpt.1 3

5:4

C Tpt.2 3

To Perc. to Marimba

Perc. 3

solo Tpt.1 3

mf 3

3 p

f 3

3 p

f 3

3 p

f 3

solo Tpt. 2 mf solo Hn. mf 3

solo Tbn. mf

solo Tba. 3

mf Vln. Ia

Vln. Ib 3

Vln. IIa mf 5

Vln. IIb mf 3

pizz.

arco

Vla.a mf

pizz.

arco

Vla.b mf

pizz.

arco

Vc. a mf pizz.

3 3

arco

Vc. b mf 3

arco

Cb. mf

pizz.

110

5 4

Fl.1

f Fl.2

Ancora pi첫 vivo q = 147 < eK = e >

2 4

4 4

5 4

2 4

5 4

2 4

4 4 4 4

4 4 5

Ob.1

f 3

5 4

2 4

5 4

2 4

Ob.2 f 3

Cl.1 f

4 4 5

Cl.2

5 4

2 4

4 4

5 4

2 4

4 4

5 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

2 4

4 4

Bsn.1 f Bsn.2

to Contra

f Hn.1

5 4

Hn.2

5 4

C Tpt.1

5 4

3 3

Ancora pi첫 vivo q = 147 < eK = e >

4 4 5

2 4

4 4

2 4 f

solo Tba. mf

2 4

solo Tbn. mf

5 4

3 3

5 4

solo Hn. mf

3 3

5 4 3

solo Tpt. 2 mf

solo Tpt.1 mf

5 4

Marimba: Perc.

5 4

C Tpt.2

4 4 5

2 4

4 4

2 4

4 4

5 4 f

Vln. Ia

Vln. Ib 3

Vln. IIa 3

Vln. IIb

5 4

2 4

4 4

5 4

2 4

4 4

5 4

2 4

4 4

5 4

2 4

4 4

5 4

2 4

4 4

5 4

2 4

4 4

Vla.a 3

3 3

Vla.b 3 3

Vc. a

5 4

unis.

2 4

4 4

5 4

unis.

2 4

4 4

2 4

4 4

3 3

Vc. b 3 3

Cb. 3

arco

5 4

33 116

4 4

3 4

4 4

3 4

Cl.1

4 4

3 4

Cl.2

4 4

3 4

Bsn.1

4 4

3 4

Bsn.2

4 4

3 4

Hn.1

4 4

3 4

Hn.2

4 4

3 4

C Tpt.1

4 4

3 4

C Tpt.2

4 4

3 4

Mar.

4 4

3 4

solo Tpt.1

4 4

3 4

Fl.1

Fl.2

solo Tpt. 2

sost.

4 4

sost.

4 4

3 4

4 4

3 4

Vln. Ib

4 4

3 4 mf

Vln. IIa

4 4

3 4 mf

Vln. IIb

4 4

3 4 mf

Vla.a

4 4

3 4 nf

Vla.b

4 4

3 4 mf

Vc.

4 4

3 4 mf

Cb.

4 4

3 4

3 4 3

f 3

sost.

Vln. Ia

sost.

solo Tba.

4 4

3 5

sost.

solo Tbn.

3 4 3

solo Hn.

3 5

P 125

4 4

Fl.1

3 4

4 4

Fl.2

3 4

Ob.1

4 4

3 4

Ob.2

4 4

3 4

4 4

Cl.1

3 4

Cl.2

4 4

3 4

Cbsn.

4 4

3 4

Hn.1

4 4

3 4

Hn.2

mf 5

4 4

C Tpt.1

3 4

(to Harmon)

con sord. Harmon

3 4

(to Harmon)

con sord. Harmon

4 4

C Tpt.2

4 4

Mar.

to Vibraphone

Vibraphone

3 4

4 4

solo Tpt.1

3 4 mf cresc.

4 4

solo Tpt. 2

3 4 mf cresc.

4 4

solo Hn.

3 4 mf cresc.

4 4

solo Tbn.

mf cresc.

3 4

con sord. 5

con sord. gliss.

4 4

Vln. Ia

3 4 mf cresc.

4 4

solo Tba.

5 5

3 4 f

4 4

Vln. Ib

3 4

4 4

Vln. IIa

3 4 5

4 4

Vln. IIb

3 4 f

Vla.a

4 4

Vla.b

4 4

Vc.

4 4

3 4 f

Cb.

gliss.

4 4

3 4

pizz.

133

Fl.1 3

3 3

Fl.2 5

Ob.1 3

Ob.2 ff

Cl.1 5

3 3

Cl.2 ff 5

Bsn.1 5

Cbsn. mf Hn.1

Hn.2

C Tpt.1 3

C Tpt.2 3

to Marimba

Vib. 5 3

solo Tpt.1 mf

mp 3

solo Tpt. 2 mf

mp 3

solo Hn. mf

solo Tbn. mf

mp 3

solo Tba. mf

mp 3

Vln. Ia 5

3 3

Vln. Ib mf

Vln. IIa mf 3

Vln. IIb mf

Vla.a 3

3 3

Vla.b mf

Vc. a 3

3 3

5 5

Vc. b 3

div.

Vc. mf Cb. mf

Q Veloce

141

3 2

Fl.1 3

3 2

Fl.2 3

q=q

3 2

Ob.1 3

5 5

3 2

Ob.2 3

Cl.1 3 3

Cl.2

5 3

3 2

Bsn.1 3

5 5

3 2

5 5

Hn.1 3

Cbsn.

3 2

Hn.2 f 3

(to straight)

C Tpt.1

3 2

con sord. straight mute

3 2

con sord. straight mute

mf (to straight)

C Tpt.2

3 2

Q Veloce

solo Tpt.1 5

3 5

solo Tpt. 2 3

3 2 3 2

senza sord.

5 5 5

3 2

solo Hn.

senza sord.

5 5

3 2

solo Tbn.

q=q

senza sord.

5 5

solo Tba.

To Glock.

Mar. f

mf 5

Marimba

5 5

3 2

mf 5

Vln. Ia 3

Vln. Ib 3

Vln. IIa f

3 5

Vla.b f

Cb.

3 2

gliss.

3 2

gliss.

p gliss .

gliss.

5 5

gliss.

3 2

3 3

gliss.

unis, pizz.

3 2

Vc. f

gliss.

Vla.a f

3 2 3 2

Vln. IIb f

3 2

5 5

3 2 p

sim. 3

sim.

37 147

Fl.1 p

Fl.2

Ob.1 p 3

Ob.2 p 5

Cl.1 p 3

Cl.2 p 5

Bsn.1

Cbsn.

Hn.1 3

Hn.2 mf 5

C Tpt.1

C Tpt.2 Glockenspiel

Glock. mf

solo Tpt.1 mf 5

solo Tpt. 2 mf 5

solo Hn. 5

mf 5

gliss. solo Tbn.

5 5

solo Tba. 5

gliss.

Vln. Ia

gliss.

mp gliss.

Vln. Ib

gliss.

Vln. IIa

gliss.

Vla.a

gliss. gliss.

arco

Vc.

Cb.

gliss.

Vln. IIb

Vla.b

gliss.

38 150

Fl.1 mf

Fl.2

Ob.1 mf 3

Ob.2 mf

Cl.1 mf

3 3

Cl.2 mf Bsn.1 3 5

Cbsn. f 5

Hn.1 mf 5

Hn.2 mf 5

C Tpt.1 3

molto secco sempre

C Tpt.2 f

molto secco sempre Glock.

f 5

solo Tpt.1 f

3 3

5 3

solo Tpt. 2 f

5 5

solo Hn. 3

f 5

gliss.

solo Tbn. 5

solo Tba. 5

f gliss.

gliss.

Vln. Ia ff

mf gliss.

gliss.

Vln. Ib

mf Vln. IIa

gliss.

mf Vln. IIb

gliss.

mf gliss.

Vla.a

gliss.

Vla.b

Vc. a

Vc. b gliss.

div. Vc. 5

Cb. f

gliss.

R 39 154

Fl.1

5 4

Fl.2

3 2 ff

Ob.1

3 2

5 4

3 2

5 4

3 2

5 4

3 2

5 4

3 2

3 3

Ob.2 3

ff 5

Cl.1 3

3 3

Cl.2 5

5 4

Bsn.1 3

3 2 ff

5 4

Cbsn.

3 2 ff

Hn.1 3

Hn.2 5

5 4

3 2 f

5 4

3 2

5 4

3 2

5 4

3 2

f senza sord.

C Tpt.1

senza sord. C Tpt.2

To Mar.

Marimba

5 4

Glock. 3

3 2 ff

R 3 2

5 4

solo Tpt.1

solo Tpt. 2

23 f

5 4

solo Hn. 3

3 2 f

5 4

solo Tbn. 3

3 2 f

5 4

solo Tba.

f 3

3 2 ff

pizz.

3 2

5 4

Vln. Ia 3

5 4

3 2

5 4

3 2

5 4

3 2

5 4

3 2

Vln. Ib

ff 3

pizz. Vln. IIa 5

ff 3

pizz.

Vln. IIb

ff 5

pizz. Vla.a

pizz.

5 4

Vla.b 5

pizz. Vc. a 5

Cb. f

5 4

3 2

5 4

arco

3 2

Vc. b

ff arco

pizz.

3 2

3 5

5 3

5 4

arco

3 2 f

40 159

Fl.1 5

Fl.2 dim. 5

Ob.1 dim.

Ob.2 5

dim.

Cl.1 5

dim. Cl.2 dim.

Bsn.1 dim. Cbsn.

Hn.1 5 5

Hn.2 5

C Tpt.1 5

dim.

C Tpt.2 5

to Bass Drum

dim.

to Tam-tam

Bass Drum:

Mar. ff 5

solo Tpt.1

solo Tpt. 2 5

solo Hn. mf

gliss.

solo Tbn. 5

solo Tba. 5

Vln. Ia ff

dim.

arco Vln. Ib

dim.

arco Vln. IIa arco

Vln. IIb dim.

arco Vla.a

dim.

arco Vla.b

Vc. a

Vc. b

dim. 3

Cb. dim.

(h = 74)

S 164

Fl.1 f

Fl.2 f

3 3

Ob.1

f 3

Ob.2 f

3 3

Cl.1 f

3 3

Cl.2 f

Bsn.1 3

Cbsn.

Hn.1 f

3 3

Hn.2 f

C Tpt.1 f

3 3

C Tpt.2 3

Tam-tam:

Perc.

(h = 74)

S solo Tpt.1 3

solo Tpt. 2 3

solo Hn. 3

solo Tbn. 5

solo Tba.

f 3

Vln. Ia 3

Vln. Ib

Vln. IIa

Vln. IIb

Vla.a

Vla.b

Vc. a f

Vc. b f Cb. f

3 5

Pi첫 largo (h = 60)

- - - e poi, accelerando poco a poco

--5:4

al tempo precedente (h = 74)

168

Fl.1 ff

5:4

Fl.2 3 5:4

Ob.1 3

5:4

Ob.2 3 5:4

Cl.1 3

5:4

Cl.2

3 5:4

Bsn.1 ff

Cbsn. 5:4

Hn.1 ff

3 5:4

Hn.2 3

C Tpt.1

C Tpt.2

Perc. f

Pi첫 largo (h = 60)

- - - e poi, accelerando poco a poco

---

al tempo precedente (h = 74)

solo Tpt.1 3

(ff)

dim. poco

ff solo Tpt. 2 5

dim. poco

solo Hn. 3

dim. poco

glis s.

solo Tbn. 3

dim. poco

solo Tba. ff

(ff) gliss.

Vln. Ia 3

ff gliss.

gliss.

Vln. Ib 3

ff Vln. IIa

ff gliss.

Vln. IIb

gliss.

Vla.a 3

ff gliss.

Vla.b 3

gliss.

Vc. a

gliss. 3

ff gliss.

gliss.

Vc. b 3

Cb.

gliss. ff

unis.

gliss.

unis.

dim. poco

U 173

Meno mosso (benchĂŠ sembra accelerare) h = 60

Fl.1 mf 3 Fl.2 mf 3

Ob.1 mf 3 3

Ob.2 mf

Cl.1 mf 3 3

Cl.2 mf

Bsn.1 mf

Cbsn.

Hn.1

Hn.2

C Tpt.1

C Tpt.2 3

ad lib.

Mbira: Perc.

(ad lib., as bar 2 etc.)

U solo Tpt.1 3

(rall. e dim.)

(mp)

Meno mosso (benchĂŠ sembra accelerare) h = 60

solo Tpt. 2 3

solo Hn. 3

solo Tbn. 3

solo Tba. 3

( gliss. Vln. Ia mf

Vln. Ib mf

Vln. IIa mf

)

Vln. IIb mf

Vla.a mf

Vla.b mf

Vci. unpitched

Each player plucks strings beyond bridge Example: using own rhythms ad lib.

(See bar 1) mp solo

1 solo:

dim. e rall. poco a poco - - - - - - - -

Cb. Knocking with fists etc: two separate sounds (e.g. on side and front of bass body) mp

dim. e rall. poco a poco - - - - - - - -

III

Vivo h = 120

Flute 1

4 2

2 2

4 2

Flute 2

4 2

2 2

4 2

Oboe 1

4 2

2 2

4 2

Oboe 2

4 2

2 2

4 2

Clarinet 1 in Bb

4 2

2 2

4 2

Clarinet 2 in Bb

4 2

2 2

4 2

Bassoon 1

4 2

2 2

4 2

Bassoon 2

4 2

2 2

4 2

2 Bassoons

4 2

2 2

4 2

2 2

4 2

2 2

4 2

Rear Stage Left Corner, facing Right

2 2

4 2

Rear Stage Right Corner, facing Left

2 2

4 2

2 2

4 2

2 2

4 2

2 2

4 2

2 2

4 2

Horn 1 in F

4 2

Horn 2 in F

4 2

Trumpet 1 in C

4 2

Trumpet 2 in C

4 2

Percussion

4 2

(2 - contra)

Tom-toms, Bass Drum

Vivo h = 120 At Stage Door Left, facing Right Solo Trumpet 1

4 2

mf flatten note with hand-stop

At Stage Door Right, facing Left Solo Trumpet 2

4 2

Solo Horn in F

4 2

Solo Trombone

4 2

2 2

4 2

Solo Tuba

4 2

2 2

4 2

mf flatten note with hand-stop

Press strings firmly down on fingerboard with LH to prevent any vibration. With RH bounce pencil across strings col legno battuto BEYOND THE BRIDGE. Bounces are ad libitum; do not match other players!

â&#x20AC;&#x2DC;sirenâ&#x20AC;&#x2122; glissando upward ad lib. by each player Violin I

4 2

( )

2 2

(put down bow)

4 2

2 2

4 2

p Press strings firmly down on fingerboard with LH to prevent any vibration. With RH bounce pencil across strings col legno battuto BEYOND THE BRIDGE. Bounces are ad libitum; do not match other players! Violin II

sim.

4 2

Viola

4 2

Violoncello

4 2

Contrabass

4 2

sim.

(pz)

gliss sfz

2 2

4 2

2 2

4 2

2 2

4 2

2 2

Hns.

(At rear of stage in left corner)

2 2

C Tpt.1

4 2

flatten note with hand-stop

4 2

(At rear of stage in right corner)

2 2

C Tpt.2

flatten note with hand-stop

4 2

Perc.

2 2

Solo Tpt. 1

2 2

Solo Tpt. 2

2 2

4 2

Vln. I

2 2

4 2

Vln. II

2 2

4 2

'siren' glissando upward ad lib. ( ) arco, ord. by each player

(

2 2

Vla.

4 2

)

4 2

gli altri

take pencil:

with LH press strings firmly down on fingerboard to prevent any vibration. With RH bounce pencil across strings col legno battuto BEYOND THE BRIDGE. Bounces are ad libitum;( do not match other players!)

(pz.)

. gliss

Vc.

2 2

4 2

sfz

Press strings firmly down on fingerboard with LH to prevent any vibration. With RH bounce pencil across strings col legno battuto BEYOND THE BRIDGE. Bounces are ad libitum;( do not match other players!)

s. glis

Cb. sfz

2 2

4 2

46 10

Hn.1

3 4

Hn.2

3 4

C Tpt.1

3 4

C Tpt.2

3 4

Perc.

3 4

Solo Tpt. 1 p

3 4

Solo Tpt. 2 p

Violin solo arco, ord.

( )

3 4

Vln. solo p

(remaining players join in, individually ad lib.) tutti div.

3 4

arco, ord.

tutti div.

3 4

arco, ord.

tutti div.

3 4

arco, ord. tutti div.

3 4

arco, ord.

3 4

arco, ord.

( )

Vln. I p

Vln. II

Vla.

glis

Vc. sfz

ss. gli Cb. sfz

Fl.1

Fl.2

Ob.1

Meno mosso ma frenetico h = 88; q = 176

3 4

5 4

3 4

2 2

3 4

5 4

3 4

2 2

3 4

5 4

3 4

2 2

3 4

5 4

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

f Ob.2

f Cl.1

3 4

5 4

3 4 f

Cl.2

3 4

5 4

3 4 f

Bsn.1

3 4

5 4

3 4 f

Cbsn.

3 4

5 4

3 4 f

Hn.1

3 4

5 4 f

Hn.2

3 4

5 4 5 4

3 4

(return to Tpt stands)

C Tpt.1

3 4

2 2

3 4

5 4

3 4

(return to Tpt stands)

C Tpt.2

2 2

3 4

Perc.

3 4

5 4

3 4

2 2

3 4

To Vib.

Meno mosso ma frenetico h = 88; q = 176

3 4

5 4

(return to quintet)

Solo Tpt. 1

3 4

2 2

3 4

5 4

(return to quintet)

Solo Tpt. 2

3 4

2 2

3 4

Solo Hn.

3 4

5 4

3 4

2 2

3 4

Solo Tbn.

3 4

5 4

3 4

2 2

3 4

Solo Tba.

3 4

5 4

3 4

2 2

3 4

Vln. Ia

3 4

5 4

3 4

2 2

3 4

Vln. Ib

3 4

5 4

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

ff Vln. IIa

3 4

5 4 ff

Vln. IIb

3 4

5 4

Vla. a

3 4

5 4

ff Vla. b

3 4

5 4 ff

Vc. a

3 4

5 4 ff

Vc. b

3 4

5 4 ff

Cb.

3 4

5 4 ff

48 Fl.1

D 3 4

Fl.2

3 4

Ob.1

3 4

Ob.2

3 4

Cl.1

3 4

Cl.2

3 4

Bsn.1

3 4

Cbsn.

3 4

C Tpt.1

3 4

C Tpt.2

3 4

Vib.

3 4

Vibraphone

(no ped.)

Solo Tpt. 1

D 3 4

Solo Tpt. 2

3 4

Solo Hn.

3 4

(solo)

mf frenetico

(solo) Solo Tbn.

3 4 frenetico mf

Solo Tba.

Vln. Ia

3 4

mp 3

frenetico mf

mf 3

f 3

mp 3

f 3

f dim.

f Vln. Ib

3 4 f

Vln. IIa

3 4

Vln. IIb

3 4

Vla. a

3 4

Vla. b

3 4

Vc. a

Vc. b

3 4

3 4 f

Cb.

3 4 f

2 2

Fl.1 mf

2 2

Fl.2

2 2

Ob.1

2 2

Ob.2

2 2

Cl.1

2 2

Cl.2 mf

Bsn.1

2 2

Cbsn.

2 2 mf

2 2

Hn.1 mf

2 2

Hn.2 mf

C Tpt.1

2 2

C Tpt.2

2 2 2 2

Vib. f

F Solo Tpt. 1

2 2

Solo Tpt. 2

2 2 2 2

Solo Hn. f

Solo Tbn. f

2 2

Solo Tba. f gliss.

2 2

Vln. Ia mf gliss.

2 2

gliss.

2 2

Vln. Ib mf

Vln. IIa mf

2 2

gliss.

Vln. IIb mf

gliss.

2 2

Vla. a mf

2 2

gliss.

Vla. b mf

gliss.

2 2

gliss.

2 2

Vc. a mf

Vc. b mf gliss.

Cb. mf

pizz.

2 2

50 31

Fl.1

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

2 2

3 4

f Fl.2

2 2

Ob.1

2 2

f Ob.2

2 2 f

Cl.1

2 2 f

Cl.2

2 2 f

Bsn.1

2 2

3 3

f Cbsn.

2 2

Hn.1

2 2

3 4

2 2

3 4

2 2

3 4

Hn.2

2 2

3 4

2 2

3 4

2 2

3 4

C Tpt.1

2 2

3 4

2 2

3 4

2 2

3 4

C Tpt.2

2 2

3 4

2 2

3 4

2 2

3 4

Vib.

2 2

3 4

2 2

3 4

2 2

3 4

meno p

cresc.

Solo Tpt. 1

2 2

3 4

2 2

3 4

2 2

3 4

Solo Tpt. 2

2 2

3 4

2 2

3 4

2 2

3 4

Solo Hn.

2 2

3 4

2 2

3 4

2 2

3 4

Solo Tbn.

meno p

2 2

3 4

2 2

3 4

2 2

f Solo Tba.

2 2 f

3 4

meno p

3 4

meno p

2 2

cresc. poco a poco

3 4 mp

2 2

3 4

Vln. Ia

2 2

3 4

2 2

3 4

2 2

3 4

Vln. Ib

2 2

3 4

2 2

3 4

2 2

3 4

Vln. IIa

2 2

3 4

2 2

3 4

2 2

3 4

Vln. IIb

2 2

3 4

2 2

3 4

2 2

3 4

Vla. a

2 2

3 4

2 2

3 4

2 2

3 4

Vla. b

2 2

3 4

2 2

3 4

2 2

3 4

Vc. a

2 2

3 4

2 2

3 4

2 2

3 4

Vc. b

2 2

3 4

2 2

3 4

2 2

3 4

Cb.

2 2

3 4

2 2

3 4

2 2

meno p

3 4

q = 96 Marcato e energico

2 4

G 2 2

2 4

2 2

5 4

2 4

2 2

5 4

2 4

2 2

5 4

Cl.1

2 4

2 2

5 4

Cl.2

2 4

2 2

5 4

Bsn.1

2 4

2 2

5 4

Cbsn.

2 4

2 2

Hn.1

2 4

2 2

Fl.1

Fl.2 5

Ob.1

Ob.2

5 4

to Bassoon

5 4 5 4 mf accomp.

Hn.2

2 4

2 2

5 4

2 2

(seated)

C Tpt.1

2 4

5 4

2 2

(seated)

C Tpt.2

2 4

5 4

mf accomp.

accomp.

mf accomp. to Temple Blocks, Crotales Vib.

2 4

2 2

5 4

2 4

G 2 2

Solo Tpt. 1

q = 96 Marcato e energico

5 4 solo: stand until 49

2 4

2 2

2 4

2 2

5 4

Solo Tbn.

2 4

2 2

5 4

Solo Tba.

2 4

2 2

5 4

Solo Tpt. 2

f Solo Hn. ff

cresc.

5 4 f

mf accomp.

2 4

Vln. Ia

2 2

5 4 sf p

2 4

Vln. Ib

2 2

f 3

5 4 sf p

2 4

Vln. IIa

2 2

f 3

5 4

Vln. IIb

2 4

2 2

5 4

Vla. a

2 4

2 2

5 4

Vla. b

2 4

2 2

5 4

2 4

2 2

5 4

2 4

2 2

5 4

2 4

2 2

5 4

pizz. Vc. a f pizz. Vc. b f Cb. mf

cresc.

sfp

H 6 4

Hn.1

6 4

Hn.2

6 4

C Tpt.1

6 4

C Tpt.2

Solo Tpt. 1

6 4

Solo Tpt. 2

6 4

(sit) 5

dim. un po

6 4

Solo Hn.

solo: stand until 57

6 4

Solo Tbn. mf

cresc.

6 4

Solo Tba.

H 6 4

Vln. Ia

Vln. Ib

6 4

Vln. IIa

6 4

Vln. IIb

6 4

Vla. a f

Vla. b f

arco Vc. a f

arco

gliss.

6 4 mf

6 4

Vc. b f

Cb.

6 4

53 50

5 4

Hn.1 mp

6 4 3

cresc.

5 4

Hn.2 mp

cresc.

6 4

5 4

C Tpt.1

6 4 3

5 4

C Tpt.2 mp

6 4

cresc.

5 4

Solo Tpt. 1

con sord.

5 4

Solo Tpt. 2

6 4

senza sord.

6 4

solo: stand until ‘J’

5 4

Solo Hn.

6 4 f

gliss. 3

Solo Tbn. mp

cresc.

5 4

6 4 3

5 4

Solo Tba.

cresc.

6 4

Vln. Ia

5 4

6 4

Vln. Ib

5 4

6 4

Vln. IIa

5 4

6 4

Vln. IIb

5 4

6 4

5 4

6 4

5 4

6 4

5 4

6 4

5 4

6 4

5 4

6 4

Vla. a cresc.

Vla. b cresc.

Vc. a cresc.

cresc.

Vc. b

Cb.

54 53

Fl.1

I 6 4 mp

Fl.2

6 4 mp

Ob.1

6 4 mp

Ob.2

5 4

6 4

5 4 mp

Cl.1

6 4 mp

5 4

Cl.2

6 4

5 4

Bsn.1

3 3

Bsn.2

Hn.1

6 4

5 4

6 4

5 4 mf

Hn.2

6 4

5 4 mf

C Tpt.1

6 4

5 4

C Tpt.2

6 4

Solo Tpt. 1

I 6 4

5 4

Solo Tpt. 2

6 4

5 4

Solo Hn.

6 4

5 4 mf

Solo Tbn.

p sub.

5 4

6 4

5 4

Vln. Ia

6 4

5 4

Vln. Ib

6 4

5 4

Vln. IIa

6 4

5 4

Vln. IIb

6 4

5 4

Vla. a

6 4

5 4

gliss.

6 4

(sit)

Solo Tba.

mp 5

mp Vla. b

6 4

5 4 mp

Vc. a

6 4

5 4

Vc. b

6 4

5 4

Cb.

6 4

5 4

mp`

solo

Fl.1 3

Fl.2 mf

solo Ob.1 3

mf 3

Ob.2 mf solo 5 Cl.1 3

Cl.2

Bsn.1

Bsn.2 3

Hn.1 3

mp ma cresc.

Hn.2 mf mp ma cresc. con sord., straight mute

C Tpt.1 mf

mp ma cresc.

con sord., straight mute

C Tpt.2 mf

mp ma cresc.

Crotales:

Temple Blocks:

Percussion

sim.

Perc. f

J solo: stand until 67

gliss.

Solo Tpt. 1 f

Solo Tpt. 2 5

(sit)

Solo Hn. 3

cresc.

Solo Tbn. mf

Solo Tba. mf Vln. Ia

Vln. Ib

Vln. IIa

Vln. IIb pizz. Vla. a f

pizz. Vla. b f pizz. Vc. a f pizz. Vc. b f 3 1 solo: Cb. cresc.

56 60

Fl.1

Fl.2

Ob.1

Ob.2

Cl.1

Cl.2 3

Bsn.1 mp

Bsn.2

Hn.1 3

Hn.2

senza sord.

C Tpt.1 5

mp senza sord.

C Tpt.2 5

To Mar.

Marimba

Perc. mf

gliss.

Solo Tpt. 1 mp

cresc.

Solo Tpt. 2

Solo Hn. mp

Solo Tbn.

Solo Tba.

Vln. Ia mp

Vln. Ib mp

Vln. IIa mp

Vln. IIb mp

Vla. a 3

cresc.

mf Vla. b mf 3

Vc. a

Vc. b

Cb. mf

cresc.

57 62

Fl.1

Fl.2

Ob.1

Ob.2

Cl.1 mf 5 Cl.2 mf Bsn.1 5

to Contra Bsn.2 5

Hn.1 mf

Hn.2 mf 3

C Tpt.1 mf

C Tpt.2

Mar. f

( 5

gliss.

Solo Tpt. 1 mf

mp 5

dim.

Solo Tpt. 2

Solo Hn.

Solo Tbn.

Solo Tba.

Vln. Ia mf

Vln. Ib

Vln. IIa

Vln. IIb

Vla. a 3

Vla. b 3

Vc. a 3

Vc. b

Cb. 3

mp )

58 65

Fl.1

Fl.2

Ob.1

Ob.2

Cl.1

Cl.2

Bsn.1

Cbsn.

Hn.1

Hn.2

C Tpt.1

C Tpt.2

Mar. 5

Solo Tpt. 1

pi첫 f

ff (stand)

Solo Tpt. 2

Solo Hn.

Solo Tbn.

Solo Tba.

Vln. Ia f 3

Vln. Ib f 5

Vln. IIa 3

Vln. IIb 3

arco

Vla. a arco Vla. b arco Vc. a arco Vc. b arco Cb.

3 4

Fl.1 mf

3 4

Fl.2

3 4

Ob.1 7

3 4

Ob.2

3 4

Cl.1 3

mf Cl.2

3 4

Bsn.1

3 4

Cbsn.

3 4

Hn.1

3 4

Hn.2

3 4 3

C Tpt.1 mf

3 4

C Tpt.2

3 4

Mar.

3 4 K (sit)

3 4

(sit)

3 4

Solo Tpt. 1 7

Solo Tpt. 2 ff

Solo Hn.

3 4

Solo Tbn.

Solo Tba.

3 4 gliss.

gliss.

3 4

gliss.

3 4

Vln. Ia ff

gliss. Vln. Ib ff

gliss. ff

gliss.

Vln. IIb

3 4

gliss.

Vln. IIa

3 4

gliss.

3 4

Vla. a

gliss.

Vla. b ff

gliss.

Vc. a ff

gliss.

3 4

f gliss.

Cb. ff

3 4

Vc. b ff

3 4

Fl.1

L 3 4

Fl.2

3 4

60 69

Vivo, frenetico q = 116

Ob.1

3 4 f

Ob.2

3 4

Cl.1

3 4

Cl.2

3 4

Bsn.1

3 4

Cbsn.

3 4

Hn.1

3 4

Hn.2

3 4

sfp

C Tpt.1

3 4

C Tpt.2

3 4

con sord.

sfp

p secco

con sord.

sfp

Mar.

Temple Blocks:

3 4 f

Solo Tpt. 1

L 3 4

Solo Tpt. 2

Solo Hn.

3 4

Solo Tbn.

3 4

Vivo, frenetico q = 116

(all dynamics are relative; tuba must predominate)

Solo Tba.

3 4 mf

Vln. Ia

3 4

p cresc.

(pizz. LH)

arco

sim.

mp (behind the bridge) Vln. Ib

3 4 sim.

Vln. IIa

3 4

Vln. IIb

3 4

Vla. a

3 4

Vla. b

3 4

Vc. a

3 4

Vc. b

3 4

mp div. mp

Cb.

3 4 mp

( )

e=e>

Fl.1

7 8

3 4

7 8

3 4

7 8

3 4

7 8

3 4

7 8

3 4

7 8

3 4

Fl.2 mp

Ob.1 mp

Ob.2 mp

Cl.1 mp

Cl.2

7 8

3 4

Cbsn.

7 8

3 4

Hn.1

7 8

3 4

Hn.2

7 8

3 4

Bsn.1 mp

C Tpt.1

C Tpt.2

7 8

3 4

7 8

3 4

p secco

7 8

Perc.

3 4 mf

e=e> Solo Tpt. 1

7 8

3 4

Solo Tpt. 2

7 8

3 4

Solo Hn.

7 8

3 4

Solo Tbn.

7 8

3 4

Solo Tba.

7 8

3 4

Vln. Ia

cresc.

7 8

mp subito

3 4 f

pi첫 f

Vln. Ib

7 8

3 4 pi첫 f

Vln. IIa

7 8

3 4 cresc.

Vln. IIb

7 8

Vla. a

7 8

3 4 cresc.

Vla. b

7 8

3 4 cresc.

Vc. a

7 8

3 4 cresc.

Vc. b

7 8

3 4 cresc.

Cb.

7 8

3 4 cresc.

pizz.

mf marcato

62 85

7 8

Fl.1

6 8

O 3 4

6 8

2 4 f

Fl.2

7 8

6 8

3 4

Ob.1

7 8

6 8

3 4

2 4 f

Ob.2

7 8

6 8

3 4

7 8

6 8

3 4

2 4 f

Cl.1

2 4 f

Cl.2

7 8

6 8

3 4

Bsn.1

7 8

6 8

3 4

Cbsn.

7 8

6 8

3 4

6 8

3 4

2 4 f

2 4

7 8

Hn.1

2 4 f

7 8

Hn.2

6 8

3 4

2 4 f

7 8

C Tpt.1

6 8

senza sord.

3 4

7 8

C Tpt.2

6 8

senza sord.

3 4

7 8 f

6 8

2 4 f

Perc.

2 4 f

Marimba

6 8

3 4

2 4 f

Solo Tpt. 1

7 8

6 8

O 3 4

Solo Tpt. 2

7 8

6 8

3 4

2 4

Solo Hn.

7 8

6 8

3 4

2 4

Solo Tbn.

7 8

6 8

3 4

2 4

6 8

3 4

2 4

7 8

Solo Tba. f

dim.

2 4

cresc.

(behind the bridge) ( )

arco

Vln. Ia

7 8

6 8

nat.

6 8

sim. mf Vln. Ib

7 8

sfz

6 8

sfz

Vln. IIa

6 8 sfz

7 8

6 8

7 8

6 8

7 8

6 8

Vln. IIb mf Vla. a

sfz

ff nat.

3 4 3 4

sfz

Vla. b

6 8

3 4

6 8

5:6

3 4 p

7 8

Vc. a mf

6 8

7 8

Vc. b

7 8 mf

2 4 2 4

pizz.

3 4

2 4 5:6 5:6

2 4

2 4 2 4

6 8

unis. pizz.

3 4

6 8

pizz.

3 4

2 4

mf Cb.

6 8

2 4

3 4

7 8

5:6 5:6

3 4

5:6

2 4

Fl.1

2 4

P 3 4

Vivo q = 116

4 4 f

Fl.2

Ob.1

2 4

3 4

4 4

3 4

4 4

3 4

4 4

ff Ob.2

Cl.1

2 4

3 4

4 4 f

ff Cl.2

2 4

Bsn.1

2 4

3 4

4 4 f

3 4

4 4

Cbsn.

2 4

3 4

4 4 f

Hn.1

2 4

Hn.2

2 4

3 4

4 4 3 3

3 4

3 3

4 4

C Tpt.1

2 4

3 4

C Tpt.2

2 4

3 4

3 3

Mar.

Solo Tpt. 1

Solo Tpt. 2

Solo Hn.

Solo Tbn.

Solo Tba.

2 4

To Vib.

5:4

P 3 4

2 4 2 4

3 4

2 4

3 4

2 4

Vibraphone

3 4 Vivo q = 116

3 4

2 4

3 4

Vln. Ia

2 4

f (no ped.)

4 4 ff

4 4 f

4 4

f 3

5:4

4 4

4 4 4 4

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

5:4

Vln. Ib

2 4 5:4

Vln. IIa

2 4 5:4

Vln. IIb

2 4 5:4

Vla. a

2 4

3 4 5:4

Vla. b

2 4 2 4

gliss.

4 4

gliss.

4 4

gliss.

3 4 5:4

Vc. a

gliss.

arco

3 4

4 4

Vc. b

2 4

arco

3 4

4 4

Cb.

2 4

3 4

f marcato

4 4 3

64 101

Fl.1

6 16

5 8

4 4

6 8

7 8

6 16

Fl.2

6 16

5 8

4 4

6 8

7 8

6 16

Ob.1

6 16

5 8

4 4

6 8

7 8

6 16

5 8

4 4

6 8

7 8

6 16

Cl.1

6 16

5 8

4 4

6 8

7 8

6 16

Cl.2

6 16

5 8

4 4

6 8

7 8

6 16

Bsn.1

6 16

5 8

4 4

6 8

7 8

6 16

Cbsn.

6 16

5 8

4 4

6 8

7 8

6 16

5 8

6 8

7 8

Ob.2

Hn.1 p sub. e cresc 3

Hn.2

6 16

5 8

Vib.

6 16

5 8

Solo Tpt. 1

6 16

p sub. e cresc C Tpt.2

6 16

5 8

6 16

5 8

4 4

6 8

7 8

con sord.

6 16 6 16

4 4

6 8

7 8

con sord.

6 16

4 4

6 8

7 8

6 16

6 8

7 8

6 16

6 8

7 8

Q 44

gliss.

4 4 ff

p sub. e cresc

4 4 ff

6 16

4 4

6 8

6 16

mp gliss.

5 8

p sub. e cresc Solo Tba.

7 8

p sub. e cresc

Solo Tbn.

6 8

p sub. e cresc

Solo Hn.

4 4

p sub. e cresc

Solo Tpt. 2

6 16 mf

5 8

4 4

5 8

6 16

C Tpt.1

p sub. e cresc 3

7 8

5 8

4 4

6 16 f

6 8

7 8

6 16

arco

6 8

7 8

6 16

arco

6 8

7 8

6 16

arco

6 8

7 8

6 16

arco

6 8

7 8

6 16

arco

6 8

7 8

arco

6 8

7 8

arco

6 8

7 8

gliss.

arco

6 8

7 8

gliss.

6 8

7 8

6 16

Vln. Ia

5 8

4 4 f

Vln. Ib

6 16

5 8

4 4

Vln. IIa

6 16

5 8

4 4

Vln. IIb

6 16

5 8

4 4

6 16

5 8

pizz.

Vla. a

4 4

5 8

pizz.

Vla. b

6 16

4 4

gliss.

6 16

f gliss.

gliss.

6 16

Vc. a

5 8

pizz.

4 4

6 16

Vc. b

5 8

pizz.

4 4

6 16

f 3

Cb.

6 16

5 8

4 4

6 16

R 65 107

6 16

5 8

6 16

4 8

10 16

6 16

5 8

6 16

4 8

10 16

6 16

5 8

6 16

4 8

10 16

6 16

5 8

6 16

4 8

10 16

Cl.1

6 16

5 8

6 16

4 8

10 16

Cl.2

6 16

5 8

6 16

4 8

10 16

Bsn.1

6 16

5 8

6 16

4 8

10 16

Cbsn.

6 16

5 8

6 16

4 8

10 16

Fl.1

Fl.2

Ob.1

Ob.2

Hn.1

6 16

5 8

6 16

4 8

10 16

Hn.2

6 16

5 8

6 16

4 8

10 16

C Tpt.1

6 16

5 8

6 16

4 8

10 16

C Tpt.2

6 16

5 8

6 16

4 8

10 16

5 8

6 16

4 8

10 16

5 8

6 16

4 8

10 16

Vib.

6 16

to Drums

Tom-toms:

R Solo Tpt. 1

Solo Tpt. 2

6 16 6 16

5 8

6 16

4 8 mp

Solo Hn.

6 16

5 8

6 16

Solo Tbn.

5 8

Solo Tba.

6 16

5 8

6 16

Vln. Ia

6 16

4 8 mp

4 8 4 8 4 8

pizz.`

6 16

4 8

pizz.

6 16

4 8

pizz.

6 16

4 8

sim.

Vln. Ib

6 16

5 8

Vln. IIa

6 16

5 8

Vln. IIb

6 16

5 8 pizz.

Vla. a

6 16 6 16

pizz.

6 16

pizz.

6 16

pizz.

sim.

6 16

sim.

Vla. b

5 8

6 16

4 8 f

Vc. a

5 8

6 16

4 8 f

Vc. b

5 8

6 16

4 8 f

Cb.

6 16

pizz.

5 8

6 16 mf

10 16 ff

f pizz.

6 16

5 8

10 16 10 16

6 16

gliss.

dim.

4 8 mp

6 16

arco

10 16

arco

10 16

arco

10 16

arco

10 16

arco

10 16

arco

10 16

arco

10 16

arco

3 3

4 8

10 16

66 Fl.1

S 4 4

Fl.2

Ob.1

116

<q_x = q = 92

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Cl.1

4 4

3 4

4 4

Cl.2

4 4

3 4

4 4

3 4

4 4

Cbsn.

4 4

3 4

4 4

Hn.1

4 4

3 4

4 4

3 4

4 4

Ob.2

Bsn.1 ff

4 4

Hn.2 ff C Tpt.1 ff C Tpt.2

4 4

con sord. (Harmon)

3 4

4 4

con sord. (Harmon)

3 4

4 4

to Bass Drum

3 4

4 4

3 4

ff Perc. ff

S 4 4

Solo Tpt. 1

4 4

Solo Tpt. 2

<q_x = q = 92

3 5

4 4

p sec

4 4

Solo Tba.

3 4

p sec

5 5

3 4 3 4

sfp

4 4 4 4 4 4

4 4

unis.

3 4

4 4

Vln. Ib

4 4

unis.

3 4

4 4

unis.

3 4

4 4

3 4

4 4

3 4

4 4

Vln. IIa ff

4 4

Vln. IIb ff

unis.

Vln. II

4 4 4 4

unis.

Vla. a

3 4

4 4

unis.

3 4

4 4

Vla. b ff pizz.

4 4

3 4

4 4

pizz.

4 4

3 4

4 4

3 4

4 4

Vc. a ff

Vc. b ff

Cb. ff

mp 5 5

mp 5

3 3

mp 5

Vln. Ia

4 4 5

3 4

4 4

Solo Tbn.

3 4

p sec

4 4

Solo Hn.

p sec 5

ad .lib. gliss.

Un po ritenuto 67

121

Fl.1 ff

Fl.2 ff

5 8

7 8

2 4

5 8

7 8

2 4

7 8

2 4

7 8

2 4

7 8

2 4

7 8

2 4

5 8

Ob.1 ff

5 8

Ob.2 ff

5 8

Cl.1 ff

5 8

Cl.2

ff Bsn.1

5 8

7 8

2 4

Cbsn.

5 8

7 8

2 4

5 8

Hn.1

7 8

sfz

5 8

Hn.2

7 8

sfz

ad lib.

5 8

C Tpt.1

sfz

5 8

C Tpt.2

to Vibraphone

5 8

2 4

Bass Drum:

take Harmon mute

senza sord.

7 8

Perc.

2 4

7 8

sf ad lib.

2 4 sfz

2 4

7 8

2 4

Un po ritenuto

5 8

Solo Tpt. 1 3

mf 5

5 8

Solo Tpt. 2 5

(

)

Solo Tba.

5 8

2 4 2 4 2 4

7 8

5 8

Solo Tbn.

7 8

5 8

Solo Hn.

7 8

2 4 5

7 8

2 4

5 8

7 8

2 4

Vln. IIa

5 8

7 8

2 4

Vln. IIb

5 8

7 8

2 4

Vln. II

5 8

7 8

2 4

Vla.

5 8

7 8

2 4

Vc. a

5 8

7 8

2 4

5 8

7 8

2 4

5 8

7 8

2 4

Vln. I f

f Vc. b f Cb. f

68 126

Fl.1

2 4

Fl.2

2 4

Ob.1

2 4

Ob.2

Pesante

2 4

Cl.1

2 4

Cl.2

2 4

Bsn.1

2 4

Cbsn.

2 4 f

Hn.1

2 4 f

Hn.2

2 4 f

C Tpt.1

2 4

Return slowly to Rear Stage, Right Corner, facing Left Corner

(Stand out of view if possible)

Return slowly to Rear Stage, Left Corner, facing Right Corner. Leave trumpet; take violin

C Tpt.2

2 4

Vib.

2 4

(Stand out of view if possible)

Vibraphone

U Solo Tpt. 1

Solo Tpt. 2

Solo Hn.

Solo Tbn.

2 4 2 4 2 4

Pesante

dim. 5

mp 5

dim. 5

sim.

2 4

(pz. fingernail beyond bridge)

sim.

dim.

2 4 mf

Vla.

dim.

remove 3rd slide

Vln. II

2 4 2 4

Vln. I

Solo Tba.

dim.

2 4 mf

Vc. a

Vc. b

2 4 mf

Cb.

pizz.LH

1 solo arco

2 4

2 4 mf

sim. 3

134

Fl.1

Fl.2

Ob.1

Ob.2

Cl.1

Cl.2

Bsn.1

Cbsn.

Hn.1

Hn.2 Repeat ad lib., and finally stop on violin by agreement con sord. Harmon mute C Tpt.1 p mf

p mf

* Take violin to pluck E string (pizz.) on alternate beat to Tpt 1

each time sim.al fine

C Tpt.2 ( mf )

sim.

Vib.

V Solo Tpt. 1 p

Solo Tpt. 2 sim.

Solo Hn.

(Bb horn)

(

) mf

Solo Tbn.

Solo Tba.

Vln. I

Vln. II

Vla.

Vc. a 3

Vc. b

Cb.

Syzygy

Piers Hellawell (b. 1956) has worked with the Schubert Ensemble of London, Hilliard Ensemble, RTÉ Vanbrugh Quartet and BBC Scottish Symphony Orchestra, for whom he wrote Dogs and Wolves (2006), among others worldwide. Works include: Cors de chasse, a concerto commissioned for Håkan Hardenberger (trumpet) and Jonas Bylund (trombone) by the Philharmonia Orchestra; Degrees of Separation, commissioned for the opening of The Sage Gateshead (2004); and Sound Carvings from the Bell Foundry for Stockholm Chamber Brass performing at festivals in Norway and Ireland. The Schubert Ensemble marked his 50th birthday with a performance. Hellawell is currently Professor of Composition at The Queen’s University of Belfast.

Hellawell

Piers Hellawell

Piers Hellawell ( *1956) hat mit vielen internationalen Ensembles zusammengearbeitet, darunter das Schubert Ensemble of London, das Hilliard Ensemble, das RTÉ Vanbrugh Quartet sowie das BBC Scottish Orchestra, für das er Dogs and Wolves (2006) schrieb. Daneben entstanden Cors de chasse – ein Konzert für Håkan Hardenberger (Trompete) und Jonas Bylund (Posaune) im Auftrag des Philharmonia Orchestra, – Degrees of Separation zur Eröffnung des Kulturzentrums The Sage im englischen Gateshead sowie Sound Carvings from the Bell Foundry für Stockholm Chamber Brass zur Aufführung bei Festivals in Norwegen und Irland. Zu seinem 50. Geburtstag widmete ihm das Schubert Ensemble ein Konzert. Gegenwärtig ist Hellawell Professor für Komposition an der Queen’s University in Belfast.

Edition Peters 72418

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